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Aidan Baker, "Liminoid/Lifeforms"

cover imageUnlike previous solo efforts, here Baker is flanked by a concentrated orchestra, propelling his demur drones into consonant and complete compositions. The result is an album of staggering growth as Baker explores the elegant side of drone and the filth of classical percussion and strings that not only established Baker as an innovator but as a inventive curator of drone and its many variants.

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Aidan Baker - Liminoid / Lifeforms

Above all else, Liminoid/Lifeforms is a definitive statement. Baker clearly states his objective with the first few notes of “Liminoid Part I,” never wavering from his desire to capture the elements of classical and romantic composition with modern techniques. The result is an album that is warm; thick with texture and sonic craftsmanship. Albums with this much attention to detail often crumble under the weight of expectation but Baker has nothing to atone for once the final note of “Lifeforms” fades into the abyss.

The greatest accomplishment of Baker’s foray into the classical is in its simplicity. Much like the great masters of composition, Baker is never afraid to do too much by doing too little. Each of the four parts that comprise “Liminoid” joins seamlessly. Not until the soaring vocals of “Liminoid (Part IV)” can we begin to notice how Baker has carefully flirted with the grandiose by indulging it so completely. The subtle hints of cello and violin coupled with the restrained guitars and percussion are slow to reveal themselves as something more than Baker’s usual fare. “Liminoid (Part IV)” becomes the unveiling of Baker’s masterpiece; when the quiet decoration that has been painstakingly built for 22-minutes engulfs the classical philosophy in a fiery pillar of modern ingenuity. In spite of its ambitious nature, the whole of “Liminoid” does not falter for even a single note. This is proof that experimental music can be manipulated using the principles of Romanticism without compromising the chaos theory and fringe accessibility that has found deep roots in various genres.

After the breathtaking beauty of “Liminoid,” Baker risks toppling his opus with the sedentary drone of “Lifeforms.” Yet the risk is well worth it, providing the perfect counterpoint to elegance of “Liminoid” while also proving to be its mirror—albeit of the warped, funhouse variety. Where “Liminoid” was poised and polite, “Lifeforms” is a test of patience and will. It maintains the grace of its segmented lead-in but the restraint of “Liminoid” is replaced with rambunctiousness. “Lifeforms” isn’t abrasive but a piece built on dissonance and misplacement. Its parts, unlike “Liminoid,” are those of worn jigsaw puzzles; connections don’t fit as they should, the tabs are frayed beyond recognition, and there are holes from missing pieces. In this there is a majesty that admirers of “The Ugly Duckling” (and its ilk) will appreciate. “Lifeforms,” when held against “Liminoid,” will seem the tremorring visage; but as a mirror and a companion, it divulges the secrets of success found within “Liminoid,” while annihilating the measuring stick of beauty used for far too long.

The labeling of Liminoid/Lifeforms as a high form of art may be a bit of hyperbole but within Aidan Baker’s classical excursion, there are far too many gems of old and new to call it anything else. Over the course of one hour, Baker builds a sturdy bridge over a crevice that once relied on the likes of John Cage and Terry Riley as its architects. Old world beauty and futuristic tones can work as one, creating music that is as challenging as it is universal.

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Review of the Day

Margareth Kammerer, "To Be an Animal of Real Flesh"
Charhizma
Listening to German-based Margareth Kammerer is almost as difficult as attempting to read German without some kind of pocket dictionary. Her style is pale and remote, her attitude near the border of nonexistent, and her references obscure. It's to my benefit that B. Fleischmann, Philip Jeck, and Chris Abrahams are all over this record because, as interesting as her poetic deliveries can be, the semi-charming resonance that marks this recording simply wasn't doing it for me by itself. There are points in Margareth Kammerer's songs where the music feels a bit recondite; I get the impression she's singing about some esoteric practices or feelings that only she can know. As far as mystery goes, this is a nice tough because Kammerer's voice and acoustic guitar sound rather secluded themselves. On the other hand, I feel distanced from the music at points where I feel like being closer to the warmth of the songs would be a far better thing. "I Carry Your Heart With Me" sounds like a stone wall; whatever is behind the wall is what's important, but there's no way I can get to it. Even the trumpet that's included on that song does little to remove the lifeless aura that surrounds the music. There are, however, times where Kammerer's voice really carries through and makes for an interesting mix with the music. Unfortunately these instances seem to occur only when she is accompanied by another musician. This isn't true of every song — "Facing It" is a nice folkish tune that actually demonstrates Kammerer has a vocal range — but there's no denying that the remix by B. Fleischmann is a better song. Perhaps it's the dichotomy on this record that is really bothering me. To Be an Animal of Real Flesh switches back and forth between lush and full instrumentation and Kammerer's bare voice and repetitive guitar. Had the latter been totally isolated and left seperate from the other, warmer songs, perhaps I'd be more of a fan of Kammerer as a solo artist. But, as it stands, Kammerer is far more interesting when people like Philip Jeck and Fred Frith are around. Ultimately this ends up sounding more like the collaborators' album and not Kammerer's. It's a decent record with some great songs on it, but there's just too much bland space that needs to be filled up before I can come back to it for anything more than those few gems. 

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